D Nye was all over this car at the Festival - he could tell us ...from what I recall, it is !

The actual car was at Goodwood in 2005:

so are the cutaways accurate?

Paul M

In this case I think confirmation can only be provided through actual observation and identification of genuine 'Lilliputian engine parts'. But that is just my opinion. (Lilliputian toolmakers are notoriously coy).

Marc,Where did that Kimble piece come from? I have some promo posters that were done on some of his pieces, but there are all photographic renditions. This one looks great, as always, if a bit overcomplicated visually. Tom West

Marc,Where did that Kimble piece come from? I have some promo posters that were done on some of his pieces, but there are all photographic renditions. This one looks great, as always, if a bit overcomplicated visually. Tom West

From Inside 100 Great Cars and issue 17 of The Car magazine1984 CorvetteThe credit in the colofon reads General Motors, but look at the way the glass is cut !!! Even the way the side window has the lower part of the glass cut-away..............it reads Betti for me. Giulio ?

as soon as I take apart "Inside 100 Great Cars". As it is a bound book, I want to check and see how to thread it back together again first.

edit to add......and a low res Murcielago

Well, I will be particularly looking forward to seeing the Urraco I wonder if there is a Lamborghini Marzal out there somewhere in the ether? Do you really have to take the book apart though? I think we could live with a warped image in the name of the integrity of your book.

From Inside 100 Great Cars and issue 17 of The Car magazine1984 CorvetteThe credit in the colofon reads General Motors, but look at the way the glass is cut !!! Even the way the side window has the lower part of the glass cut-away..............it reads Betti for me. Giulio ?

Have you discovered which type of detailing distinquishes a Bruno from a Giulio ? Pray tell Tony !

Anyway here is another to ponder over.It is credited to "Domus" in issue Nr. 31 of The Car magazine.Now I clearly remember when I subscribed to Autosprint and QuattroRuote that they were published by Editoriale Domus.So as the Betti's were more or less the in house cutaway artists, I am calling it a "by Betti"Ferrari Dino 246 GT

wp, you were asking earlier about instruments - so far this is the best I can find of the rear, or front, depending how you look at it, of a bunch of instruments. 1959 Testa Rossa. I'm sure I've done a more complicated one, but can't think which vehicle it was!

Phew! A typical 'Cathedral' like construction there Tony.

Yes I remember (and checked back), I commented on how we don't often get to see the drivers instrument panel and you were musing on the sophisticated simplicity of the front of the panels having evolved into a sort of cluttered complexity, but you also mentioned how the backs of even the early instrument panels were always a pain.

Having said that, looking at this example it is clear that you conquered it. And even more than that, as usual you were able to clarify it. Despite it being a relatively efficient panel at the front, there remains a fairly complex array of mechanical components at the rear. How easy was it for you to gain access to this area Tony, considering the nature of the beast? I simply don't know enough about the car, regarding the location of any possible removable panels to quite work out how you achieved it?

+ Were there any interesting stories associated with your overall encounter with the car?

interesting technique there with the gears on the front of the engine.

Bruno and his brother have a very colourful style, Bruno particularly. I could never bring myself to add so much reflected tints - you certainly have to add some, and in reality everything we see has added colour, but there is much more than just a hint here! Obviously a green crankshaft and russet rods are to accentuate the components, but my chosen technique was to keep things as natural as possible, using highlights and reflected colour to differentiate (today's long word) one part from another. One of the things I notice about computer generated illustrations is that there is often no added colour, unless the illustrator knows his stuff. Without it everything looks a bit flat.

Overall the Lamborghini engine looks terrific, I especially like the trumpets and the carbon lower part of the detached air-box, very nice! However, I'm not a fan in principle of a lot of ghosting of solid metal parts, the gears worry me a little - as if Bruno Betti cares!

wp, you were asking earlier about instruments - so far this is the best I can find of the rear, or front, depending how you look at it, of a bunch of instruments. 1959 Testa Rossa. I'm sure I've done a more complicated one, but can't think which vehicle it was!

Flashback! I remembered that the Ferrari TR250, part of the working drawing for which I posted some time ago, probably had the most fiddly instrument area, and here it is in colour.

Yes. Especially with the presence of the reflection across windscreen? Complexity with an added layer of complexity!

How easy was it for you to gain access to the narrow area between the sill of the windscreen and the engine cover Tony?

This was the w/d I was thinking of, wp, part of which is shown above in colour.

Edited to say I find it hard to believe that I first posted this on page 30!. Rather than re-imageshack it I thought I'd just copy it from the earlier post - I started looking back page by page from #65, it took so long that in the end I just selected page 30 at random and bingo! There it was. I'm going to do the Euro lottery today - big house, nice little collection of cars, here I come!

This was the w/d I was thinking of, wp, part of which is shown above in colour.

Edited to say I find it hard to believe that I first posted this on page 30!. Rather than re-imageshack it I thought I'd just copy it from the earlier post - I started looking back page by page from #65, it took so long that in the end I just selected page 30 at random and bingo! There it was. I'm going to do the Euro lottery today - big house, nice little collection of cars, here I come!

Why, thank you, wp! Many years ago there was a brief period when the numbers at Jim Allington's studio were swollen from three to four, as an illustrator probably slightly older than Jim joined us - but didn't stay for long. There was obvious a clash of personalities. One day Jim commented on the newbie's drawing of welds on a Cooper chassis. He responded by saying that Jim's were a mess, blobby and massive. Jim said "You draw them as they are meant to look, I draw them as they are!"

Why, thank you, wp! Many years ago there was a brief period when the numbers at Jim Allington's studio were swollen from three to four, as an illustrator probably slightly older than Jim joined us - but didn't stay for long. There was obvious a clash of personalities. One day Jim commented on the newbie's drawing of welds on a Cooper chassis. He responded by saying that Jim's were a mess, blobby and massive. Jim said "You draw them as they are meant to look, I draw them as they are!"

Wonderful stuff!

Do you recall any components where the process of drawing them "as they were" still felt counter-intuitive to your hand/eye? What about the fused trumpets on your TR250 for example, what an abstract construction these type of trumpets are wherever they crop up in all their different configurations!